Главная Дискография Интервью Книги Журналы Аккорды Заметки Видео Фото Рок-посевы Викторина Новое



1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

Club Sandwich 62 Club Sandwich 62

ings. Before that, however, they're all done in pencil too, so that makes 42,000. The celluloids also have to be shaded or painted before being photographed, plus there's all the preparatory photographs and the layouts of the scenes - add another 3500 drawings - then add the storyboard drawings. "The sequence of the mandolin player (Act 6, Release) alone took one artist three months," comments Geoff Dunbar, "plus there were scenes, only natural in a film project, that we couldn't fit in, which were heaved out and confined to the bin."
            The senior animator, leading a team of seven, was Grand Slamm's Nicolette van Gendt, and it was her task — following the creation of the six-act storyboard by Geoff Dunbar in close collaboration with Paul and Linda — to re-invent the work of Honorc Daumier, to perfectly but positively mimic his style so that his individual drawings could be made to move and advance the story. It's a mark of the team's achievement that no difference between his original work and theirs is discernible to the naked eye. "Doing a film like this does have its bonuses because you get involved in a man's life," remarks Dunbar, "and one learns so much more than if you just studied it. You're actually in it, you've got to draw it, you've got to make it move, to create new scenes which will dovetail with the original ones."
            "It was like pretending that Daumier was on our staff," agrees Paul, "like he was one of our artists. So we were able to fill in the movement in between his drawings."
            Altogether, Paul supplied about 20 minutes of original, purely instrumental music, 15 of which was used. Like so much of his output, it's hard to categorise: it may not really be minimalist in the true sense of the word, but certainly, in places, it's pretty minimal. And it changes dramatically depending on the Act, from subtle tinkling percussion effects to more strident piano and electric guitar passages and some lovely acoustic guitar work. It's all there, perfectly married to the onscreen images. "The great thing about animation is that they need the music before the film," Paul comments, "unlike live-action films where they need the music afterwards to slot in with the picture. In animation they follow what you lay down." Club Sandwich 62
            "Paul was inspired by Daumier and I was inspired by the music," comments Geoff Dunbar. "And we do have a good sense of what we're both thinking and saying. It was the same with Rupert - I found 'We All Stand Together' so evocative of Rupert Bear that I remembered all my childhood stories when I heard it. With the Daumier music it's so much a departure for Paul, such a brave direction to go in, that I had to sit down and listen to it many times over.
            "What was especially thrilling was when we did the sound mix and Paul and I were sitting at the back of the theatre. There it was again - the strength of the music was still there. We'd been listening to it every day, sections of it repeated again and again, and it had become an object of work. So for the strength of the music to still be there two years later was remarkable. It was a thrilling moment and we were absolutely chuffed."
            Recession or no recession, good work will usually come your way if you do good work. For Geoff Dunbar, animation has fascinated him since childhood and keeps him very busy in adulthood. "As a boy I use to draw on a piece of celluloid, go under the stairs, use a torch as a homemade projector and make it move. Now I've been able to make four films - the first was about Toulouse-Lautrec, the second Alfred Jarry's Ubu, then Rupert and now Daumier. As Paul said recently, and he's quite right, we're really lucky boys to be able to do this kind of work, because in today's financial world not many get the chance. It's a marvellous thing."
            Delighted to be "probably the only animator in the world who has a gold disc", pointing to his award for 'We All Stand Together', Dunbar is usually occupied making animated television commercials, and is presently engaged in caringly bringing to the screen another much-loved British children's character, Beatrix Potter's Peter Rabbit, set for transmission later this year.
            Daumier's Law
was finally finished just before last Christmas, and the plan is for it to go into cinemas before eventual release on home-video/disc. As for the music element, Paul comments, "I've also got two other pieces on the same sort of theme and of similar length, so the idea at some point may be to release everything together on record, the Daumier's Law music and the other music. We'll see."
            One thing is for certain, it's yet another new direction in the career of Paul McCartney - one can only wonder just how he'll surprise us all next, but he'll do it, somehow...

Club Sandwich 62 Club Sandwich 62